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FULL INSTRUCTIONS 

IN THE ART OF 

PARCHMENT SHADE 
MAKING AND DECORATING 



HOME INSTITUTE OF TRADES 

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GRAND RAPIDS, MICHIGAN 



COPYRIGHT 1921 

BY THE HOME INSTITVTE Ol TRADES 

GRAND RAPIDS, MICHIGAN 



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PARCHMENT SHADE 
MAKING AND DECORATING 



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LESSON ONE 
PUTTING ON THE DESIGN 



The design we are going to teach you to put on your parch- 
ment shade is known as the Wild Rose and Blue Bird scene. After 
you have learned to do this, according to these instructions you 
will be able to put on and paint other designs readily and easily. 

Your design will be put on your parchment while it is flat. 
It can be put on the parchment after the rings are sewed in but 
you will probably find it more convenient to put your design on 
the very first thing. 

First, fasten your parchment on a flat table by putting 
tacks in each corner and at necessary intervals, as shown in 
illustration No. 50. Your design is to be put on the parchment in 
three different places a short distance apart so that practically 
the entire parchment is covered with the design evenly distrib- 
uted. One imprint of the design will be in the center of the 
parchment ; then one imprint will be on each side of that equal 
distance towards the ends of the parchment. 

Your materials for putting on the design are the cake of 
blue black stamping powder, the small bottle of turpentine or ben- 
sine and a small felt pad. For this pad you merely use a small 
piece of felt that you can handle conveniently. 





Illustration No. 50 



Illustration No. 51 



First pour a little turpentine on the blue-black cake and 
stir around on it briskly with your pad until you have created a 
good black mixture on your pad. Note illustration No. 50. Then 
lay your paper pattern on the exact center of your parchment, with 
the rough side of the pattern down, as shown in illustration No. 51. 



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Hold it firmly in place with one hand, while you briskly and 
firmly rub the moist felt pad over the entire surface of the pat- 
tern with the other hand. Do this thoroughly and then, when you 
lift the pattern from the parchment, you will find the outline of 
your design clearly imprinted on your parchment. It is a good 
plan to practice doing this once or twice on a v.hite sheet of paper 
before trying it on your parchment. You will not hurt the pattern 
by frequent ui^e unless, of course, you should tear it. 

Having completely transferred your design to the parchment 
in three places as instructed, you will now proceed to give the 
shade its permanent shape and put in the rings as instructed below. 

LESSON TWO 
CEMENTING THE PARCHMENT 

Please note the pencil mark on one end of the flat parch- 
ment. You are now about to give your flat parchment its round 
permanent shape by cementing the two ends together. 





Illustration No. 52 



Illustration No. 53 



First take your cement or glue and thoroughly cover the 
one side of one end of the parchment up to the pencil mark, as is 
shown in illustration No. 52. Cover this edge of the parchment 
well and evenly with the cement or glue ; then, taking the other 
end of the parchment place it evenly over the cemented end up to 
the pencil mark, as is shown in ilustration No. 53. 



Then lay the parchment on the table at the cemented seam 
with your hands pressing down on the inside of the seam as shown 
in illustration No. 54. Press firmly with the finger over the 
entire cemented seam to assure complete adhesion. 




Illustration No. 54 

Next place a ruler lengthwise over the entire seam and 
upon the ruler place a very heavy object such as a flatiron. 
Leave the flatiron or heavy object upon the seam of the shade 
until the cement is thoroughly dry. This will require about twenty 
to thirty minutes time. Your shade is now shaped, and you are 
ready to place in the rings. 

LESSON THREE 

SEWING IN THE RINGS 

First you will sew in the large ring in the bottom of the 
shade as shown in illustration No. 55. This ring quite likely 
will fit the edge of the parchment exactly. In case the ring is a 
little smaller than the lower rim of your shade then push the 
ring within the parchment as far as it will go. Unquestionably 
the ring will exactly fit the lower rim of the parchment but in 
case the parchment does extend beyond the ring a little, you should 
trim way the edge of the parchment until it meets the ring flush. 

In sewing in this lower ring of the parchment, use clothes- 
pins to hold the ring in place while sewing as shown in illustra- 
tion No. 55. You will also find that if you fashion the ring in 
place with clothespins as you place it within the parchment, it 
will assist you considerably in fitting it properly 



Proceed to sew the ring in place using a coarse white 
thread as shown in illustration No. 55. Sew with "over ^nd over" 



stitches. Sew the ring firmly in place making your stitches about 
1/8 of an inch apart. While sewing, lightly press the ring continu- 
ously towards the small end of the shade so that the parchment will 




Illustration No. 55 

be taut after your rings have been sewed in. Do this by pressing 
lightly down on the ring with your forefinger and lightly up on 
the parchment with one hand while sewing with the other hand. 
Quite likely you will just naturally do this. 




Illustration No. 56 



You will now place the small ring within the shade. This 
ring goes in the top of the shade from below. It should fit flush 
with the edge of the parchment at the top of the shade as shown 
in illustration No. 56. The inner wire frame of the small ring, 



of course, should be within the shade and not above it. This 
inner wire frame or circle will hold your shade on the light bulb 
when the shade is finished and in use. Study illustration No. 56. 

Hold the small ring in place with clothespins while sewing 
as in the case of the large ring. If the parchment edge should hap- 
pen to extend beyond the ring then trim it off until flush with 
the ring. However, as we said before, in practically all cases 
you will find that your rings will fit the top and bottom of your 
shade perfectly. Proceed to sew the ring in place with "over and 
over" stitches about 1/8 of an inch apart. Study illustration 
No. 57. 




Illustration No. 57 

The sewing of the upper ring being finished, you are now 
ready to tape the stitched edges of your shade, in order to bind 
and strengthen and give the edges a finished appearance. 

LESSON FOUR 

PUTTING ON THE TAPE 

First, about 3/8 of an inch above the lower outside edge 
of your parchment shade, trace a light line with a pencil entirely 
around the shade. This light pencil line entirely around the out- 
side bottom of your shade, 3/8 of an inch from the edge, is to be 
your guide in putting on your tape. The object is to get the tape 
on evenly all the way around as shown in illustration No. 58. 

Next, take the length of the tape that you will use at 
the bottom of the shade, and moistening it as you go along, grad- 
ually stick it around the outside edge of the shade up to the 
pencil mark you made. Note illustration No. 58. 

After your tape is^entirely fastened around the bottom out- 
side edge of your shade, then before turning and sticking it under 



all around, it is a good plan to snip it with the shears every inch 
or two up to the edge of the shade. The object of this is to take 
up the fullness when turning and sticking it under. See illustra- 
tion No. 59. 




Illustration No. 58 




Illustration No. 59 

Next in the same manner proceed to tape the top edge of 
the shade where you have stitched in the small ring. First make 
the pencil mark around the outside rim about 3/8 of an inch from 
the edge as your guide in putting on the tape. Then moistening the 
tape as you go along, stick it firmly on the top outside edge of 
the shade up to the pencil mark. This done, snip the tape as be- 
fore with your shears about every inch down to the edge of the 
shade to take up the fullness when turning the tape under. Stick 
the tape as firmly around the inside edge of the shade as you did 
the outside edge. 



6 



LESSON FIVE 

INKING IN YOUR DESIGN 

You are now ready to ink in your design so that it will 
stand out more clearly. You will find that after putting on the 
design the shade may be a little greasy from the turpentine. If 
so, then lightly sprinkle on a little talcum powder or cornstarch 
and rub this off lightly with a cloth. This done, it is easier 
to apply your ink. 

You should have handy a bottle of Waterproof Outlining Ink. 
Dip your pen into this and proceed to ink over every line of the 
design on the parchment. Do this carefully. 

YOU CAN INK IN YOUR DESIGN WHILE THE PARCHMENT IS FLAT ON 
THE TABLE IF YOU PREFER. You can try it out both ways later on. 
You can ink in one shade while flat, and then ink in another shade 
after the rings are put on. You can then decide which is the most 
convenient for you. 

LESSON SIX 

PAINTING UPPER BACKGROUND 

MIXING AND APPLYING THE PAINT 

You are now ready to put in your background. For the 
background you will use a shaded deep tan brown, having it lighter 
toward the top of the shade, and deeper brown toward the bottom of 
the shade. For this work you will, of course, now bring your wooden 
palette, your palette cup, paint tubes and brushes into use. Put 
a little turpentine in your palette cup. 

By the background of the shade we mean the entire shade 
outside of the actual lines of the design. You can paint the back- 
ground over the stem line where it is a single inked line, as you 
go along, but do not get the background inside the flower lines, 
leaf line or in fact, any of the lines of the design. 

First, you squeeze from your tube of brown paint about 

rne inch of color, placing it on your palette. Next, squeeze out 

upon this brown paint about three-quarters of an inch of yellow 

color. Then pour on this about eight or ten drops of your parch- 
ment dryer. 

Next take your palette knife and mix the paints thoroughly 
as shown in illustration No. 61. Use enough parchment dryer so that 
after thoroughly mixing, you get your paint to the consistency of 
thick cream. If it gets tc^ thick you can add a very few drops 



of turpentine to thin it. The mixing of these paints will give 
you the deep tan brown for your background. 




Illustration No. 61 




Illustration No. 62 

Proceed to paint in your background using your large sized 
brush (quill). First paint in the background around the entire top 
of the shade nearly one-half of the way down as shown in illus- 
tration No. 62. The background of the lower portion of the shade 
you will make a darker brown a little later on. 

After you have painted in about one-half of the background 
at the top, then take a piece of soft cloth, cotton or cheese 
cloth, and rub gently over the painted portion which is dry. The 
object is to lightly rub out the brush marks. See illustration No. 
63. In other words, as you are putting in your background when a 



8 



considerable portion is dry, rub out the paint brush marks with a 
light cloth and proceed. You can tell it is dry when it begins to 
look dull. When painting the background around the leaves and 
flowers it may be well to use a smaller brush to avoid painting 
inside the design line. 




Illustration No. 63 

In case your paint seems to be too thick as you go along, 
then every now and then dip your brush in your palette cup in which 
you will have a small quantity of turpentine. 

LESSON SEVEN 
PAINTING LOWER BACKGROUND 

Having finished painting in the background around the top 
part of the shade, and, having rubbed out the brush marks with a 
light cloth, you will now proceed to paint in the background on the 
lower half of the shade. 

First, add to your paint on the palette about three quarters 
of an inch more of your brown paint. This will create the deeper 
dark brown color for the lower part of your shade. Then add a few 
drops of parchment dryer and mix briskly with a palette knife until 
it reaches the consistency of thick cream. 

Now proceed to paint the lower half of your shade, and as 
it drys to a dull color, wipe out the brush marks with the soft 
cloth. 

IMPORTANT — While rubbing out the brush marks on the lower 
half of the shade, use the cloth at the same time to blend the two 
shades of the background as in illustration No. 64. 

You will probably notice when painting in the lower deeper 

9 



background that, where it meets the upper background the contrast 
between the two shades is too sharp. Ihat fault is remedied 
quickly by rubbing over the background at that point with your soft 
cloth. This light rubbing blends the two shades so that the entire 
background gradually deepens from top to bottom of the shade all 
around. 




Illustration No. 64 

Now having painted in your entire background, and having 
rubbed out the brush marks and blended the shades, you will now 
proceed to clean out your design. 

In painting in your background you probably got a little 
brown paint into the design itself here and there. This must be 
cleaned out. To do this, merely dip one of your clean, small 
brushes in some clean turpentine, and moisten the brown paint a 
little. Then take a clean cloth and rub it out. Whenever your de- 
sign needs such cleaning be sure to do it. 

LESSON EIGHT 

PAINTING THE FLOWERS 

MIXING AND APPLYING THE PAINT 



We will now proceed to teach you the painting of your de- 
sign. First squeeze out about one inch of your Crimson Lake color. 
Then upon that squeeze out about one-fourth of an inch of white 
paint. Pour on a few drops of parchment dryer, and proceed to mix 
to the consistency of thick cream. Having done this, you will now 
proceed to paint your flowers (v/ild roses). Take your smallest 
sized brush for this work, and proceed to paint every flower and 
bud with this deep pink colt)r. Note illustration No. 65. 

10 



While you are painting in your flowers, every now and then 
dip your brush into the turpentine very lightly to keep the paint 
thin because the flowers should not be painted too deep a color. 
The color should be kept as transparent as possible. 




Illustration No. 65 

When your pink color in your flowers becomes a little dull 
that means it is dry enough so that you can lightly rub out the 
brush marks with a soft cloth. 

Having painted your flowers, and having rubbed out the brush 
marks, now take your small brush and dip it in the turpentine. Do 
not get it too wet with turpentine. Then proceed to touch up each 
petal just a little AROUND THE EDGES, to thin the paint, and give 
the petals '"'highlights.'* 

Having done this, then dip your brush in the paint and pro- 
ceed to deepen the color of the petals at the centre or stamen of 
the flower. In other words, the petals should have light spots or 
""highlights'' around the edges, and a deeper color at the centre 
or stamen of the flower. 

Now clean your brush entirely of the pink color. Then 
squeeze out about an eighth of an inch of mauve color on your 
palette and upon it put two or three drops of parchment dryer. Mix 
this to the consistency of thick cream. This paint will be used to 
paint in the stamen of the flowers. 

Dip the end of the brush lightly into the paint, and proceed 
to put about two little dots of paint on each petal VERY LITTLE dis- 
tance from the centre of the flower. 

Now clean your brush entirely of the mauve color. Then 
squeeze out upon the palette about one-eighth of an inch of yellow 

^ 11 



color, add a drop or two of turpentine ard irix. Then in the exact 
centre of the flower where you see tho tiny circle, place a little 
daub of this yellow paint. Ihat finishes the flowers. 

LESSON NINE 

PAINTING THE LEAVES 

Having cleaned your brush entirely of the mauve color, you 
are now ready to paint the leaves of your design. The leaves will 
be painted a green color. You will not find this work at all diff i 
cult, and you will be very much pleased with the result attained. 

First, take your tube of black paint and squeeze out about 
1/16 of an inch of this color. Then upon that squeeze out ?4 of an 
inch of your emerald green. Then put on about 8 drops of parch 
ment dryer, and as before mix to the consistency of thick cream. 




Illustration No. 66 

Dip your brush into the paint, and proceed to paint each 
leaf of your design and also paint the stems with this green color 
at the same time. Note illustration No. 66. Do not let the paint 
get too thick. When necessary thin it just a little with turpentine, 

After you have painted the leaves and stems over your 
entire design, and have rubbed out the brush marks as the paint 
has become sufficiently dry, you are now ready to put in the 
"high lights." 

Take your brush and dip it lightly in the turpentine. Do 
not get it too wet with turpentine. Then proceed to touch up the 
leaves around the edges. Only put these "high lights" in around 
the edges of the leaves. 

12 



Having touched up the leaves as above instructed, now dip 
your brush into the paint, and proceed to give the leaves a darker 
green along the middle. The object is to have the leaves lighter 
around the edges and deeper in color along the middle. You will 
observe that an inked line runs through the middle of some of the 
leaves. That is where you should make the leaf a darker green. 

LESSON TEN 

PAINTING THE BLUEBIRDS 

Painting the bluebirds is the next step. You will paint the 
breast of the birds an orange color, the bills a brown color, and 
the rest of the bird shades of blue. By the rest of the bird we 
mean the wings, tail, head and back. 

First, you will apply the blue shades. Take your tube of 
blue color and squeeze out about ^j of an inch of the paint. On this 
squeeze out about 1/16 of an inch of white paint. Add 3 or 4 drops 
of your parchment dryer, and mix to the consistency of thick cream. 




Illustration No. 67 

Use one of your smaller brushes for this work. Be sure it 
is clean. Dip it lightly in turpentine and proceed to paint the 
wings, back, head and tail of each of the birds in your design. Do 
not paint the breast or bill of the birds with this blue paint. 
Note illustration No. 67. The breast is to be painted an orange 
color and the bill a brown color. Do not leave too much of the 
breast to be painted in orange. 

After having applied all the blue paint where necessary 
then proceed to paint the breasts of the birds. 



13 



Take ^4 of an inch of Yellow paint and 1 16 of an inch of 
Crimson Lake, and about 3 or 4 drops of Parchment Dryer and mix to 
the consistency of thick cream. 

Take a clean brush and with this paint, which will be of a 
light orange color, paint the breast of each bird. 

After having painted the breast of each bird in this manner, 
wait until the blue and orange paint is dry, and then proceed to 
rub out the brush marks with a soft cloth. 

Having rubbed out the brush marks of the blue and orange 
paint, you will now proceed to touch up the breast of each bird in 
a deeper orange to give it "high lights" and to suggest feathers. 

First, you should make your orange paint on the palette a 
darker orange. Do this by adding 1/16 of an inch of crimson lake 
paint. Then add two or three drops of parchment dryer and mix. 
This will give you a deeper orange. Proceed to touch up the breast 
of each bird lightly by daubing on this darker orange here and 
there. Do not overdo it. 

You are now ready to apply a darker shade of blue to the 
wing feathers and the tail feathers ofeach bird. Squeeze out about 
1''16 of an inch of blue paint upon the blue paint you have on your 
palette, and mix with a little parchment dryer. This gives you a 
darker blue paint. 

Take a clean brush, dip it lightly in turpentine, and pro- 
ceed to streak in tail and wing feathers with this darker blue. 

You will now paint the bill of each bird a brown color. 
Squeeze out a tiny bit of brown paint and mix it with a drop or two 
of parchment dryer. Be sure to use a clean brush. Paint each bill 
with this brown paint and let it dry. 

Next you will paint the eyes of each bird. For this 
purpose you use the mauve paint. Squeeze a little bit of your 
mauve paint on the palette. Do not use any parchment dryer but 
allow this paint to remain thick. 

Use a clean brush, dip lightly in turpentine. Proceed to 
draw your brush over the inked lines of the eye. Only put this 
mauve paint over the inked line and upon the inked dot of the eye 
of the bird. 

VARNISHING THE SHADE 

Before putting the braid on your parchment shade, give the 
outside surface of the shade a coat of parchment varnish. 

Simply pour a littl^e of the parchment varnish into a cup or 

14 



similar receptacle. Use your largest brush for this varnishing. 
Be sure to clean the brush before and after varnishing. 

Make your brush strokes around the outside surface. Do not 
make them up and down strokes. In other words, circle the shade, 
and as you go along, smooth out the brush marks. You will find it 
easy to do. 

After having given the shade this coat of varnish, then 
allow it to dry, and then proceed to put on the braid. Do not var- 
nish purple backgrounds. 

LESSON ELEVEN 

PUTTING ON THE BRAID 

Your parchment shade is now entirely finished with the 
exception of putting on the gold braid. Putting on the braid is a 
very simple matter, and is a very attractive finishing touch. You 
should have on hand about 2 yards of attractive gold braid. You will 
only use about 1^4 yards, but it is a good plan to have a little more 
than enough of everything on hand. The braid should be a little 
over one-half inch wide. You can readily secure an attractive 
braid. 

The braid is to be sewed flat against the outside rim of the 
shade at the top and bottom. It should cover the tape around the 
top and bottom of the shade. Use a brown silk thread which matches 
the braid, and an average size sewing needle. 

Quite likely you know just how to sew on this braid. It is 
very simple work, and you can do it neatly without trouble. How- 
ever, we will describe a good stitch which you may choose to follow. 

Start your needle from the inside of the shade and run it 
through the parchment and braid so that your knot will be within the 
shade. Then run your needle back through the braid and parchment 
about 1 16 of an inch from where it came out. Then run it back 
through closely again from the inside out. 

Then, still close to this spot, run your thread for a dis- 
tance of % of an inch between your braid and parchment. Then again 
run the needle back and forth through both braid and parchment 
about 1/16 of an inch apart, and then along under the braid again 
for another ^4 of an inch. Continue in this manner entirely around 
both top and bottom of the shade. 

Your shade is now finished, and undoubtedly you are pleased with 
the success of your first effort. There is no reason whatever why 
you cannot go right ahead painting all sizes and shapes of shades 
with many different and attrective designs. 

15 



The lessons on Parchment Shade Decorating which will follow 
cover many different beautiful designs for all the different sizes 
and shapes of shades. We show you the designs and suggest to you 
what colors and combinations of colors to use. The lessons will 
please you, and enable you to. put in many profitable hours. 



16 



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014 149 274 3 



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Hollinger Corp. 
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L'BRARY OF CONGRESS 

iraiii«|.|.|„.,. 



014 149 274 3 



HoUinger Corp. 
pH8.5 



